The Essence of Street Photography

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keenmaster486

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What photograph have you taken that, to you, represents the essence of what you try to accomplish in street photography?

For me, it's this one:
Dead Link Removed
EDIT: Here's another link to the highest resolution I can get, so you can really zoom in:
https://drive.google.com/open?id=0BwrvaawQX603SG9JUF9NaDJRZ1k

I was just looking through my old images today and this one in particular struck a chord with me.

I remember exactly where and when I took this. I was walking down Pearl Street in Boulder, Colorado with a friend. I happened to have my camera with me. At some point we notice this huge dog, making friends with a smaller dog. I quickly took out my camera, set the exposure, and nailed the shot. I didn't think twice or take time to compose the shot or give it a second thought - this was 100% on instinct, even the exposure, and I don't even remember why I chose a small aperture at the time, except to make sure I had enough depth of field in case I didn't focus properly. I just knew I had to capture the moment fast because it wouldn't last long enough to do my usual thing of taking my time.

On first glance this seems like a pretty normal, boring picture. Yeah, the dogs are cool. Yeah, the big dog vs. small dog thing is neat. Then we move on, right? But look a little closer. Take a look at what the other people in the picture are doing. The woman sitting behind the small dog is not even looking at the dogs, like everyone else - she's looking somewhere else, to the photographer's right, with this coy expression on her face that makes you wonder whether she has noticed a friend or love interest walking up, or whether she is simply daydreaming. The man in the background appears to be looking at the dogs, or, more interestingly, the photographer (or the photographer's beautiful friend, just saying). We see a man sitting on a bench talking to a woman who may be his wife, we don't know. We see people walking in conversation, looking at shops, smiling, having fun - doing what people do every day on this street. We see the shops Boulder residents know and love - Liberty Puzzles, Kilwin's Chocolate, we even see a little Illegal Pete's flair in what the woman on the bricks is eating (Illegal Pete's is just to the right, out of the picture). It's undeniably Boulder - we see banner text on a door that reads "Most renewable resource on the planet"! The depth of field is just large enough to encompass all these things and still leave the very background out of focus.

This photograph also holds a lot of memories for me. I remember every second of that afternoon I spent with my friend, and that single picture brings it all back, and also triggers memories of all the time I have ever spent on Pearl Street. There, in one image, is something powerful and amazing, at least to me, and probably to a lot of other people as well. It's the sort of image you can show to any Boulder college student 60 years from now and they will pore over it with a magnifying glass with tears in their eyes.

This photo tells a story, and the story is far deeper than just the ostensible foreground subject.

That's what street photography in particular, and much of photography in general, is all about for me.

What is it all about for you, if you could pick one single image that resonates with what you try to accomplish?
 
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Ko.Fe.

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I'm trying to be not so simple.

Yes, I like GW straight and close street photos, he has balls for it, it is true time snapshots taken nicely, but I also like his urban landscapes, they are surreal. I admire HCB because he is surrealist and it is often in his street photos. Surrealism in street photography to me then photo is not just with easy to get story. I'm person who likes to think. To me good story is not simple story.

I'm not anywhere near to GW and HCB. This is, probably closer of mine, where I'm trying to achieve to be not just simple:

 

NB23

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Out of my 4000 favorite street images, I cut it down to 2000 extra favorites.
Here are 2 that I like equally to my other 1998.
 

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piffey

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I just printed one last night and have not had time to scan it in, but in the image there are 3 elements going on and as I was watching it in the developer I had a similar thought of why am I so into taking pictures of strangers and what am I trying to do here. The image had a beautiful woman looking at the camera making eye contact, a crotchety-looking old man mid stride and a beggar in front of a fashion store with a sign that said something like "I'm not kidding". It resonates with me because it's a combination of things, coinciding in that one moment, then frozen on film.

Street photography feels to me like photographing those random, cinematic moments that happen as you walk down the street. Where you'd look to a friend and go -- did you see that? That can be with juxtaposition, lighting, expressions, action, movement, repetition -- whatever it is it's about that one split second. That's what makes it fun. There's no arrangement and no time to think. It's photography on instinct. It's communicating that moment or story with meaning in the final print.

Out of the thousands of frames I've shot on the street this year there have only been 5 to 10 that I actually like and feel have a story to tell. Out of the thousands of frames I've shot of studio portraits or landscapes I can say about half are printable, good work for those genres, but none carry quite the meaning of one solid street photograph -- for me.
 

NB23

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I'm on a roll
 

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Ko.Fe.

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I just printed one last night and have not had time to scan it in, but in the image there are 3 elements going on and as I was watching it in the developer I had a similar thought of why am I so into taking pictures of strangers and what am I trying to do here. The image had a beautiful woman looking at the camera making eye contact, a crotchety-looking old man mid stride and a beggar in front of a fashion store with a sign that said something like "I'm not kidding". It resonates with me because it's a combination of things, coinciding in that one moment, then frozen on film.

Street photography feels to me like photographing those random, cinematic moments that happen as you walk down the street. Where you'd look to a friend and go -- did you see that? That can be with juxtaposition, lighting, expressions, action, movement, repetition -- whatever it is it's about that one split second. That's what makes it fun. There's no arrangement and no time to think. It's photography on instinct. It's communicating that moment or story with meaning in the final print.

Out of the thousands of frames I've shot on the street this year there have only been 5 to 10 that I actually like and feel have a story to tell. Out of the thousands of frames I've shot of studio portraits or landscapes I can say about half are printable, good work for those genres, but none carry quite the meaning of one solid street photograph -- for me.


Exactly! Joel Meyerowitz explains it in similar way.
 

piffey

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I'm on a roll

Truly inspiring work! Where and when are most of your shots from? They feel pulled right from the 70/80s if it wasn't for the font used on the BBQ place and the 2000s-ish sunglasses in the shower picture.
 

NB23

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Piffey, thanks.
They have been shot within this past year. Miami (the girls), Rio, Eastern Europe (the boy behind the door), Montreal (the BBQ). Except the tattooed boy, which was shot in 93.

All different films and developers. The 80's feel is probably due to the digital process: Which is iphone shots of wet fb prints. As crazy as it may sound, this adds to the general feel.

To answer the OP, I am completely, totally, exclusively and only devoted to the poetry and balance of the image. I do not care about the story.

Your image would have been dismissed if it was my shot, solely on the basis that the foot of the lady behind the dog is overlapsed by the dog. Yes, I am a perfectionist to that degree. The image can be meaningful in many regards but it has to be technically perfect at first sight. It's all about the balance.

Composition is everything. Story comes a distant second.

All imo, of course.
 
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keenmaster486

keenmaster486

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Your image would have been dismissed if it was my shot, solely on the basis that the foot of the lady behind the dog is overlapsed by the dog. Yes, I am a perfectionist to that degree. The image can be meaningful in many regards but it has to be technically perfect at first sight. It's all about the balance.
This is fascinating! To me, it is the exact opposite. Any more input on this?
 

NB23

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It's simply a different philosophy.

Photography is about the image.

What the viewer decides to understand while looking at the picture is his own problem. But the photograph has to be interesting enough, in strict physical terms (composition, forms), in order to keep the viewer interested for more than 3 seconds. The story comes after. The first 3 seconds are eye-candy.
 
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awty

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I have terrible timing for street, but occasionally I get one I like...
This one I happened to be walking by, saw my chance metered, focused and fired with in a second........then I screwed up my developing, still think it works, maybe even better.
Dogs and Men..jpg
This one I waiting in prey for an opportunity with my big mamiya rz67 and 180mm lens sitting on my lap, as you do......and this chap walked on by in his new very crinkled paisley shirt on a night on the town, had fired the shutter and just timed the lens firing perfect. Again not a good negative, but I still like it. Noticed the scan cropped his shiny shoes with spats, damn......now if could just do a good print.

01,01,17357 b compressed.jpg
 

bvy

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Your image would have been dismissed if it was my shot, solely on the basis that the foot of the lady behind the dog is overlapsed by the dog. Yes, I am a perfectionist to that degree. The image can be meaningful in many regards but it has to be technically perfect at first sight. It's all about the balance.
I don't entirely agree with this. I started to elaborate last night, but missed some of your later posts (and your excellent images). Technicals can take a hit if there's something interesting (and I mean really interesting) going on. A little motion blur in a picture of a college girl throwing up on a homeless man? Who cares! But then again, I'm a Mark Cohen fan. I see what you mean about the dog/leg connection, but it's a non-issue for me because (sorry OP) there's just nothing terribly interesting going on there. In those critical first three seconds, it's not a tack sharp or perfectly harmonious composition that's going to hold the average viewer.

Speaking of composition, some of my best street images were actually accidents of juxtaposition. (Link only since this is non-analog: https://flic.kr/p/bQXDJk.)
 
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keenmaster486

keenmaster486

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I see what you mean about the dog/leg connection, but it's a non-issue for me because (sorry OP) there's just nothing terribly interesting going on there. In those critical first three seconds, it's not a tack sharp or perfectly harmonious composition that's going to hold the average viewer.
This is true!!

Yeah my photo wouldn't hold the average viewer. But it means something to me because of all the fine details, and the moment and memory that it evokes.

EDIT: Mostly I am interested to know what photos really strike you emotionally, and why.
 

CropDusterMan

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He looks gruff, but as I walked by and took this shot, I said "Looking sharp handsome"! (It was a Sunday AM) He replied back in a gruff weather voice..."Thanks young fella"!
 

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